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Material Histories of Medieval Iberia, held on Wednesday 2 June 2021, part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).
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Material Histories of Medieval Iberia, held on Wednesday 26 May 2021, part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).
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Material Histories of Medieval Iberia, held on Wednesday 19 May 2021, part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).
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Material Histories of Medieval Iberia, held on Wednesday 12 May. Part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).
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Material Histories of Medieval Iberia, held on Wednesday 5 May 2021. Part of the Slade Professor of Fine Art, Annual Lecture Series, 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).
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Material Histories of Medieval Iberia, held on Wednesday 28 April 2021. Jerrilynn Dodds is Harlequin Adair Dammann Chair in the History of Art at Sarah Lawrence College. Prof. Dodds' scholarly work has centered on issues of transculturation, and how groups form identities through art and architecture. Among her publications are: Arts of Intimacy: Christians, Jews and Muslims in the Making of Castilian Culture, co-authored with Prof. Mara Menocal and Abigail Krasner Balbale; Architecture and Ideology of Early Medieval Spain; and New York Masjid, the Mosques of New York City. She was editor of the catalogue Al Andalus: The Arts of Islamic Spain (Metropolitan Museum of Art) and served as curator of the exhibition of the same name, at the Alhambra in Granada and in New York; co-editor and curatorial consultant of The Arts of Medieval Spain (with Little, Moralejo and Williams, Metropolitan Museum of Art); co-editor and consulting curator for Convivencia. The Arts of Jews, Christians and Muslims in Medieval Iberia (ed., with Glick and Mann, 1992); and, with Edward Sullivan, co-editor and curator for Crowning Glory, Images of the Virgin in the Arts of Portugal( Newark Museum). She has written and directed films in conjunction with museum exhibitions (Journey to St. James (MMA); An Imaginary East (MMA); NY Masjid (Storefront) and for wider audiences (Hearts and Stones: The Bridge at Mostar). Professor Dodds was the recipient of the Cruz de la Orden de Mérito Civil (Cross of the Order of Civil Merit) from the Government of Spain (2018).
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Professor Amy M. Mooney, Terra Foundation Visiting Professor in American Art Hosted by TORCH. Moderator; Alastair Wright: Alastair Wright is Head of the History of Art Department and Tutorial Fellow in Art History at St John’s College, Oxford. Regarding the Portrait: The Primers
In this four-part lecture series, Professor Amy Mooney examines the central role portraiture played in fostering social change in the United States from the 1890s through the 1950s. Drawing from her forthcoming book, Portraits of Noteworthy Character, Professor Mooney considers the strategic visual campaigns generated by individuals and social institutions that used the portrait to advance their progressive political ideologies. From the etiquette texts used at historically black colleges to the post cards produced by Hull House to the Harmon Foundation’s exhibition of “Portraits of Outstanding Americans of Negro Origin,” this series explores the ways in which the portrait was employed to build social relationships and negotiate modern subjectivity.
This lecture examines the factors that influenced the development of pedagogical strategies for reading and realizing the portrait as conceived for students at Historically Black Colleges and Universities during the post-bellum era. Through engravings illustrating etiquette books and early photography, Professor Mooney traces the precedents for the ideological situating of black subjectivity within the politics of respectability that later inform the rhetorical trope of the New Negro. -
Professor Amy M. Mooney, Terra Foundation Visiting Professor in American Art Hosted by TORCH. Moderator: Melanie Chambliss, Assistant Professor in the Humanities, History, and Social Sciences Department at Columbia College Chicago. In this four-part lecture series, Professor Amy Mooney examines the central role portraiture played in fostering social change in the United States from the 1890s through the 1950s. Drawing from her forthcoming book, Portraits of Noteworthy Character, Professor Mooney considers the strategic visual campaigns generated by individuals and social institutions that used the portrait to advance their progressive political ideologies. From the etiquette texts used at historically black colleges to the post cards produced by Hull House to the Harmon Foundation’s exhibition of “Portraits of Outstanding Americans of Negro Origin,” this series explores the ways in which the portrait was employed to build social relationships and negotiate modern subjectivity.
At the turn of the twentieth century, U.S. national consciousness was challenged by both migration and immigration. White progressives, such as Jane Addams, sought to improve the conditions of newly arrived immigrants and borrowed strategies for racial, adapting them to encourage assimilation. Looking at images generated by Joseph Stella, Norah Hamilton and Lewis Hine, Professor Mooney considers how portraits from the progressive era contributed to the emerging constructs of race and ethnicity across the color line. -
Professor Amy M. Mooney, Terra Foundation Visiting Professor in American Art. Hosted by TORCH. Moderator: Professor Deborah Willis, Department of Photography and Imaging at the Tisch School of the Arts at New York University. In this four-part lecture series, Professor Amy Mooney examines the central role portraiture played in fostering social change in the United States from the 1890s through the 1950s. Drawing from her forthcoming book, Portraits of Noteworthy Character, Professor Mooney considers the strategic visual campaigns generated by individuals and social institutions that used the portrait to advance their progressive political ideologies. From the etiquette texts used at historically black colleges to the post cards produced by Hull House to the Harmon Foundation’s exhibition of “Portraits of Outstanding Americans of Negro Origin,” this series explores the ways in which the portrait was employed to build social relationships and negotiate modern subjectivity.
Through the advancements in technology and printing, photography becomes the most accessible form through which individuals could determine how they wanted to be seen. The burgeoning black media ensured the publication and circulation of photographic portraits, as well as the development of a modern criticality through the act of representation. In this lecture, Professor Mooney explores how, in collaboration with their patrons, African American commercial photographers generated a body politic that fostered racial equality through portraiture. -
Professor Amy M. Mooney, Terra Foundation Visiting Professor in American Art Hosted by TORCH. Regarding the Portrait: The Pragmatists
In this four-part lecture series, Professor Amy Mooney examines the central role portraiture played in fostering social change in the United States from the 1890s through the 1950s. Drawing from her forthcoming book, Portraits of Noteworthy Character, Professor Mooney considers the strategic visual campaigns generated by individuals and social institutions that used the portrait to advance their progressive political ideologies. From the etiquette texts used at historically black colleges to the post cards produced by Hull House to the Harmon Foundation’s exhibition of “Portraits of Outstanding Americans of Negro Origin,” this series explores the ways in which the portrait was employed to build social relationships and negotiate modern subjectivity.
The final lecture examines an exhibition generated by the Harmon Foundation in 1944 called “Portraits of Outstanding Americans of Negro Origin.” This group of commissioned portraits toured the US for nearly ten years with the intention of not only celebrating the contributions of successful African Americans, but also modeling social integration and the possibilities of civil rights. Considering the aesthetics and logistics of the exhibition, Professor Mooney explores the ways in which the philosophies of Alain Locke informed the unabating optimism that portraiture could generate social change. -
Dr John Blakinger speaks about iconoclasm in American history and the vandalism of Confederate monuments. Iconoclasm is an enduring American value. In 1776, a mob destroyed a statue of King George III in Bowling Green, New York, establishing the new American Republic as a nation built on image destruction. More recent acts of visual violence have targeted Confederate monuments, transforming them both physically and digitally. Images of vandalism that circulate online are powerful enough to re-cast bronze and shatter stone.
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Dr John Blakinger discusses 'Scaffold', Sam Durant's contentious sculpture. Sam Durant's controversial sculpture Scaffold, a wooden structure recalling specific gallows from American history, ignited a firestorm at the Walker Art Center in Minneapolis in 2017. The work resembled the scaffold used in nearby Mankato, Minnesota, where 38 Dakota men were executed just days after President Lincoln signed the Emancipation Proclamation - it was the largest mass execution ever held on American soil. This historical reference prompted a backlash from Native communities, who called for the work's removal. Can art help us dismantle the past and loosen its shackles? Or are we always forced to remember?
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Dr John Blakinger speaks about the controversy surrounding Dana Shutz's painting of the body of Emmett Till exhibited at the 2017 Whitney Biennnial. Who has the right to see in an age of image overload? At the 2017 Whitney Biennial, a painting by the artist Dana Schutz depicting the body of Emmett Till, a fifteen-year-old African-American boy lynched in Mississippi in 1955, incited outrage. The artists Hannah Black and Parker Bright condemned the work as "black death spectacle." The episode resuscitated debates over the use and abuse of traumatic pictures, and the way visual images propelling the Civil Rights movement also exploited their subjects.
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Dr John Blakinger talks about demonstrations against the Whitney Museum of American Art related to its connections with the tear gas manufacturer Safariland. In November 2018, an image of migrants fleeing tear gas at the US-Mexico border ricocheted across the internet, inspiring protests against the Trump administration’s immigration policies but also against a more unlikely target: the Whitney Museum of American Art. The artist-activist collective Decolonize This Place stormed the museum in demonstration against the Whitney’s connections to Safariland, a manufacturer of tear gas. Andy Warhol’s silkscreen canvases, then on view for a major retrospective, took on new meanings during these events. The artist’s “Death in America” paintings depicting turmoil in the 1960s came to life in the gallery.
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This lecture was delivered at the University of Oxford History of Art Department’s Research Seminar series by T.J Clark Professor Emeritus, UC Berkeley.
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Professor Miguel de Baca gives his third Terra Foundation Lecture in American Art on the works of Georgia O’Keeffe and Martha Graham. Miguel de Baca joins the History of Art Department as the Terra Foundation Visiting Professor of American Art in 2017-18 from Lake Forest College, where he is the chair of the Department of Art and Art History.
Miguel studies modern and contemporary American art; he is especially interested in issues of memory-making and the representation of history as they intersect the history of abstraction. Among his other interests are video and digital art, culture jamming, protest, artistic collaborations, and critical studies of race, ethnicity, gender, and sexuality. Miguel’s monograph, Memory Work: Anne Truitt and Sculpture, was published by the University of California Press in 2015. His current book project, Video Art and Public Culture, is about activist uses of video and digital art from the 1960s forward. Miguel was the recipient of an Andrew W. Mellon Foundation grant for his contribution to “Digital Chicago,” a multimedia online platform investigating Chicago’s cultural history from 1892 to 1933. He is an Advisory Editor for the American National Biography online, published by the Oxford University Press with the support of the American Council of Learned Societies, and serves as the Co-Chair of the Association of Historians of American Art. -
Professor Miguel de Baca gives his second Terra Foundation Lecture in American Art on the work of Dave the Potter. Miguel de Baca joins the History of Art Department as the Terra Foundation Visiting Professor of American Art in 2017-18 from Lake Forest College, where he is the chair of the Department of Art and Art History.
Miguel studies modern and contemporary American art; he is especially interested in issues of memory-making and the representation of history as they intersect the history of abstraction. Among his other interests are video and digital art, culture jamming, protest, artistic collaborations, and critical studies of race, ethnicity, gender, and sexuality. Miguel’s monograph, Memory Work: Anne Truitt and Sculpture, was published by the University of California Press in 2015. His current book project, Video Art and Public Culture, is about activist uses of video and digital art from the 1960s forward. Miguel was the recipient of an Andrew W. Mellon Foundation grant for his contribution to “Digital Chicago,” a multimedia online platform investigating Chicago’s cultural history from 1892 to 1933. He is an Advisory Editor for the American National Biography online, published by the Oxford University Press with the support of the American Council of Learned Societies, and serves as the Co-Chair of the Association of Historians of American Art. -
Professor Miguel de Baca gives his first Terra Foundation Lecture in American Art on two depictions of suicide. Miguel de Baca joins the History of Art Department as the Terra Foundation Visiting Professor of American Art in 2017-18 from Lake Forest College, where he is the chair of the Department of Art and Art History.
Miguel studies modern and contemporary American art; he is especially interested in issues of memory-making and the representation of history as they intersect the history of abstraction. Among his other interests are video and digital art, culture jamming, protest, artistic collaborations, and critical studies of race, ethnicity, gender, and sexuality. Miguel’s monograph, Memory Work: Anne Truitt and Sculpture, was published by the University of California Press in 2015. His current book project, Video Art and Public Culture, is about activist uses of video and digital art from the 1960s forward. Miguel was the recipient of an Andrew W. Mellon Foundation grant for his contribution to “Digital Chicago,” a multimedia online platform investigating Chicago’s cultural history from 1892 to 1933. He is an Advisory Editor for the American National Biography online, published by the Oxford University Press with the support of the American Council of Learned Societies, and serves as the Co-Chair of the Association of Historians of American Art. -
Professor David Ekserdjian gives his seventh Slade Lecture on Barocci’s drawings for the Madonna del Popolo. David Ekserdjian is the Slade Professor 2017-18 and he presented a series of lectures titled 'From Drawing to Painting in the Italian Renaissance'.
David Ekserdjian is a world-renowned authority on Italian Renaissance painting, with particular specialities in the artists Correggio and Parmigianino, the subjects of two Yale monographs of 1998 and 2006. He is also an expert on the history of collecting and this informs his work as an adviser to auction houses like Sotheby's and Christie's, international museums and galleries such as the National Gallery and Tate Britain, as well as private collectors. Bronze sculpture is another of his areas of expertise and it formed the topic of the most recent of the many exhibitions that he has conceived and curated. 'Bronze' at the Royal Academy (co-curated with Cecilia Treves) drew international acclaim and almost a quarter of a million visitors. His book of the exhibition was described by the Wall Street Journal as "the most beautiful book published anywhere in the world this year", and went on to win the Association for Cultural Enterprises award for best new publication. - もっと表示する
